Director
Jogos dirigidos é uma experiência de linguagem permeada por depoimentos improvisados de um elenco de não atores realizados em cenários da comunidade onde moram. As mensagens passadas pelos personagens não são, em sua maioria, traduzidas. Há, em alguns momentos, uma sistematização do léxico da Várzea Queimada apresentado a partir do gesto acompanhado da palavra que representa.
Director
Na tela da esquerda, o filme O Mestre de Apipucos de Joaquim Pedro de Andrade mostra o cotidiano de Gilberto Freyre em 1959: o escritor passeia no jardim, trabalha, toma café da manhã com a esposa, interage com os funcionários da casa, entre outras atividades. Na tela da direita, em 2016, um caseiro é o atual protagonista que vive e trabalha naquele espaço.
Director
"A fisherman, dark-skinned and shirtless, sits in a boat on a quiet river and, before long, catches a fish. The fish gasps for air and the fisherman holds it to his chest until it dies. This sequence—performed by a series of fishermen, of various ages and using various styles of capture—is the spine of the work, interrupted by passages of quiet natural beauty; one shot is a steady, stately pan through scores of trees and empty air behind." - Vinson Cunningham
Director
As farm animals are prohibited anywhere in Recife, everyone who gets about by horse is made invisible from the point of view of the law. Only by dealing with the race as if it were scene from a movie – by being able, therefore, to have it considered as being to some extent a piece of "fiction" - is what would make the event feasible and fit to obtain the authorizations needed to make it happen from the official point of view.
Director
"4000 shots helps me to position myself in relation to the history I did not experience directly, but from which I am a descendent. A history full of the most traumatic episodes which I access more through readings and less through my own body, through an instinctive reaction which is sensitive to me. The way I react to what touches me, to what disgusts me, or to what I profoundly desire defines how I move. It defines the political use of my existence. Art helps me to approach and respond to what provokes me. It also helps me to experience more wholeness along the way. To make this work, I used a roll of Super 8 film to shoot, frame by frame, faces of random men in the streets of Buenos Aires. The urgency, the obsession, the randomness, and the aesthetics of the video bring up an ambiguous atmosphere of this past—the very amnesia in which this memory is embedded." - Jonathas de Andrade
